On Balancing (2012)
– An exhibition tuning itself
In March 2012, the Borealis festival for Contemporary music in Bergen, curated by Alwynne Pritchards, exhibited the piece On Balancing/Om å balansere by me and Christian Blom in the project space ROM8. The piece was an installation that underwent continuous transitions inflicted upon it by changes in the natural and cultural environment surrounding the gallery. Tuning, an activity that realizes the relationships between object and observer, was explored in the piece from a perspective that emphasized performance and gestures of sensing the environment, in a dehumanized manner.
The installation contained moving elements in dynamic relationships. At the core was a series of ambient transitions going on inside and outside the space: changes of light, the rhythms of passing cars, their headlights creating moving elements of light within the space, sound moving from inside to outside and vica versa, as well as projections that appeared and disappeared with the ambient light. All these elements were continually transforming the appearance, and the installation thus went through changes without anything being intentionally changed by someone. At the centre, a group of kinetic sculptures were trying to tune themselves according to a fixed point of reference that was actually not there; the sun. The exhibition opened at 4 pm, when the room was filled with natural daylight but just before it would start fading. In daylight, the appearance of the exhibition was in accordance with an exhibition displaying a handful of kinetic sculptures as contemporary art.
Considering video as sets of material and cultural conditions, I am interested in how these enable dynamic and significant relationships. My interest for art originated in a period where video cameras became readily available for ordinary consumers, alongside computers that could handle various media with ease and modems that would allow the users of such media to connect through the internet. I soon got involved in an international network of artists, musicians and activists who were exploring, experimenting with and pushing the boundaries of media. I developed a passion for video as signal, as media and as movement alongside a devotion towards collaboration, interdisciplinary forms, temporality and performativity that has marked my entire practice. Still today, I mostly work in some form of collaboration where different practices inform and challenge each other, for example in my current research into «camera agency» and body movement through a series of field works.